Annotation:Kate Lay Sleeping: Difference between revisions
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'''KATE LAY SLEEPING'''. AKA and see "[[Barrack Hill (2)]]," "[[Breach of Killiecranky (The)]]," "[[Kate's Laid in the Hay]]," "[[Lass of Killiecrankie (The)]]," "[[Round and Round this Green Sugar Tree]]," "[[Whitewashed Kate]]." American, | '''KATE LAY SLEEPING'''. AKA and see "[[Barrack Hill (2)]]," "[[Breach of Killiecranky (The)]]," "[[Kate's Laid in the Hay]]," "[[Lass of Killiecrankie (The)]]," "[[Round and Round this Green Sugar Tree]]," "[[Whitewashed Kate]]." American; Polka, March and Air. USA, southwestern Pa. A Dorian. Standard tuning (fiddle). AB. There are more vocal than instrumental versions of this air which was often used for play-party and shanty ditties, according to Bayard (1981). One of the play-party songs collected in Pennsylvania goes: | ||
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''Say, pretty Belle, has your beau come'' (x3)<br> | ''Say, pretty Belle, has your beau come'' (x3)<br> |
Revision as of 01:36, 2 April 2012
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KATE LAY SLEEPING. AKA and see "Barrack Hill (2)," "Breach of Killiecranky (The)," "Kate's Laid in the Hay," "Lass of Killiecrankie (The)," "Round and Round this Green Sugar Tree," "Whitewashed Kate." American; Polka, March and Air. USA, southwestern Pa. A Dorian. Standard tuning (fiddle). AB. There are more vocal than instrumental versions of this air which was often used for play-party and shanty ditties, according to Bayard (1981). One of the play-party songs collected in Pennsylvania goes:
Say, pretty Belle, has your beau come (x3)
To help us with our dancing?
Yes, he'll come if yous say so (etc.)
Go give him a kiss and bring him in (etc.)
A shanty version has:
Way hay and up she rises (x3)
Early in the morning.
And and Irish one:
You are my love in the hay all night (x3)
Till six o'clock in the morning.
Source for notated version: Harry Wingrove (Westmoreland County, Pa., 1946), Charles Clark (Fayette County, Pa., 1946), Eben Patterson (Allegheny County, Pa., 1930's), Samuel Losch (Juniata County, Pa., 1930's) [Bayard].
Printed sources: Bayard (Dance to the Fiddle), 1981; No. 251, pp. 214-215.
Recorded sources:
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